Artist Peter Fraterdeus creates intricate typographic pictures using only brass rule—the thin metal strips traditionally used for printing ruled lines. His process involves meticulously cutting and arranging these pieces by hand, building up images like portraits and cityscapes through varying thicknesses and densities of lines. By employing techniques like cross-hatching and stippling with the brass rule, Fraterdeus achieves a surprising range of tonal values and textures, demonstrating the artistic potential of this humble printing material. He draws inspiration from traditional engraving and printmaking, translating those aesthetics into a modern medium with painstaking precision.
Standard Ebooks produces free, high-quality ebooks for readers. They meticulously format and proofread public domain texts, creating beautifully typeset, accessible editions optimized for various e-readers. Their goal is to liberate classic literature from inconsistent and often poorly formatted digital versions, offering a superior reading experience akin to well-crafted print books, while also respecting the author's original intent. They encourage community involvement through contributions like proofreading and cover art.
Hacker News users generally praised Standard Ebooks' mission and quality. Several commenters appreciated the attention to detail and craftsmanship applied to the ebook formatting, contrasting it favorably with the often poor quality of commercially available ebooks. Some users highlighted the value of well-formatted ebooks for visually impaired readers using screen readers. A few commenters questioned the long-term viability of relying on donations and volunteered labor, while others suggested potential business models like a Patreon or selling curated collections. The DRM-free nature of the ebooks and the project's commitment to open standards were also commended. A minor point of contention was the choice of fonts, with some expressing preferences for alternatives.
This article from the Journal of the Printing Historical Society details the history of phototypesetting at Monotype, focusing on their transition from hot metal to photographic composition. It covers the initial reluctance to embrace the new technology, driven by a significant investment in hot metal, and the eventual development of filmsetters like the Monophoto, Lasercomp, and Linotron 202. The piece highlights the technical challenges overcome, the evolution of font design and storage for photographic systems, and the ultimate impact of these innovations on the printing industry, marking a significant shift away from traditional methods.
Hacker News users discuss the linked PDF, which details the history of Monotype's involvement with phototypesetting. Several commenters express fascination with the technical details of early phototypesetting machines, particularly the challenges of achieving high-quality output and the ingenious mechanical solutions employed. Some lament the loss of the aesthetic qualities of hot metal type in the transition to phototypesetting, while others appreciate the increased speed and flexibility the newer technology offered. A few commenters share personal anecdotes about working with Monotype equipment, providing firsthand accounts of the era. The discussion also touches upon the broader historical context of the printing industry's shift from analog to digital processes.
This post compares the layout models of TeX and Typst, two typesetting systems. TeX uses a box, glue, and penalty model, where content is placed in boxes, connected by flexible glue, and broken into lines/pages based on penalties assigned to different breaks. This system, while powerful and time-tested, can be complex and unintuitive. Typst, in contrast, uses a flow model where content flows naturally into frames, automatically reflowing based on the available space. This offers greater simplicity and flexibility, especially for complex layouts, but sacrifices some fine-grained control compared to TeX's explicit breakpoints and penalties. The author concludes that while both systems are effective, Typst's flow-based model presents a more modern and potentially easier-to-grasp approach to typesetting.
HN commenters largely praised the article for its clear explanation of layout models in TeX and Typst. Several noted the helpful visualizations and the clear comparisons between the two systems. Some discussed the trade-offs between the flexibility of TeX and the predictability of Typst, with some expressing interest in Typst's approach for certain use cases. One commenter pointed out that the article didn't cover all of TeX's complexities, which the author acknowledged. There was also a brief discussion about the potential for combining aspects of both systems.
This blog post explores using eqn, a pre-troff equation formatter, to generate MathML for static websites. The author details their process of converting eqn syntax to MathML using geqn and groff, emphasizing its simplicity and suitability for static site generation. They highlight eqn's ease of use compared to LaTeX and demonstrate the process with a practical example, showcasing the conversion steps and the resulting rendered MathML embedded in HTML. This approach allows for maintainable, human-readable equation source files while leveraging standard tools to produce accessible and widely compatible mathematical expressions on the web.
HN users largely praised the simplicity and elegance of using eqn for math rendering, particularly in contrast to MathJax or LaTeX. Several appreciated the author's demonstration of a straightforward, lightweight approach for static sites, avoiding JavaScript dependencies. Some discussed the limitations of eqn, such as lack of support for more complex equations and symbols, while others offered alternative tools like KaTeX and MathML. One user pointed out potential accessibility issues and suggested investigating MathML for better screen reader compatibility. The overall sentiment favored eqn for its ease of use in simple scenarios, but acknowledged the need for more robust solutions for complex mathematical content.
Summary of Comments ( 4 )
https://news.ycombinator.com/item?id=43670216
Hacker News users were fascinated by the intricacy and precision of the typographic pictures. Several commenters discussed the historical context of brass rule use in printing, with one noting its use for creating borders and forms. Another pointed out the connection to letterpress printing and the skill required to achieve such detailed images. The meticulous nature of the process was a common theme, with some comparing it to engraving or even pixel art. The artist's dedication and patience were lauded, and the resulting images sparked appreciation for the beauty achievable with a seemingly simple tool. A few commenters expressed interest in learning more about the technique and the tools involved.
The Hacker News post titled "Typographic Pictures Composed Entirely of Brass Rule (2024)" has generated a modest number of comments, primarily focused on the historical context and technical aspects of using brass rule for creating images.
One commenter highlights the labor-intensive nature of this type of printing, mentioning the meticulous work involved in cutting and arranging the brass rules. They express admiration for the craftsmanship and dedication required to produce such detailed images. This comment also points out that, while not explicitly stated in the original article, the examples shown likely originated from the photoengraving era, a period when these techniques were commonly employed.
Another commenter draws a parallel between the use of brass rule and the creation of "ASCII art," where images are formed using text characters. They see a shared principle in utilizing simple elements to construct complex visuals. This connection emphasizes the resourcefulness and creativity involved in both methods, despite the difference in mediums.
A further comment delves into the history of printing and typesetting, explaining that brass rule wasn't always exclusively decorative. It was originally used for creating lines and borders in printed materials before evolving into a more artistic medium. This context helps to appreciate the transition of brass rule from a purely functional element to a tool for artistic expression.
Another contributor notes the potential connection between this technique and early computer graphics, suggesting that the limitations imposed by the medium might have inadvertently contributed to the aesthetic appeal of the resulting images. They appreciate the simplicity and starkness achieved through this method, viewing it as a precursor to later digital art forms.
Finally, a comment mentions the practicality of using brass rule for creating illustrations in situations where photographic reproduction was difficult or impossible. This highlights the historical significance of these techniques as a viable alternative to photography in specific contexts. The commenter also touches on the longevity of the resulting prints, further emphasizing their practical value.
While not a large number of comments, the discussion on Hacker News offers valuable insights into the history, techniques, and artistic merits of using brass rule to create typographic pictures. The comments effectively expand on the original article by providing historical context, technical details, and connections to other art forms.